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Composer/guitarist Yasmin Williams has announced a US winter headline tour behind her critically acclaimed new album, Acadia. The dates begin with four shows in California in December, before picking back up on the East Coast in February with shows in Baltimore, NYC, Northampton, Philadelphia, and more. Williams also plays Pitchfork Music Festival in London in November and Brandi Carlile's Girls Just Wanna Weekend in Mexico in January.
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Composer and guitarist Yasmin Williams has announced a US winter headline tour in support of her critically acclaimed new album, Acadia, out now via Nonesuch Records. The dates begin with four shows in California in December, before picking back up on the East Coast in February with shows in Baltimore, New York City, Northampton, Philadelphia, and more. Williams also plays Pitchfork Music Festival in London in November and Brandi Carlile's Girls Just Wanna Weekend in Mexico in January. See below for details and tickets; for all the latest, visit nonesuch.com/on-tour. As Uproxx praised, “Shredding has never sounded so beautiful, melodic, or even peaceful; it’s one of the reasons that Williams is one of the best performers I’ve ever had the fortune to witness live.”
Acadia, which The Bluegrass Situation calls “a masterwork,” is Williams’ most sonically expansive work to date, comprising nine original, mostly instrumental, tracks written and produced by Williams, and featuring her on various guitars, banjo, calabash drum, tap shoes, and kora. Williams is joined on the album by collaborators including Immanuel Wilkins on saxophone, Dom Flemons on rhythm bones, Aoife O’Donovan on vocals, William Tyler on guitar, and many others—creating a folk music that reflects the wide range of musical influences that have inspired her throughout her life.
A native of northern Virginia, Yasmin Williams has garnered praise from the likes of Pitchfork, including her in its list of 25 New and Rising Artists Shaping the Future of Music in 2023, and NPR Music, naming her a Breakthrough Artist of 2021, saying: “Yasmin Williams treats her guitar like a playground. She taps the wood of the instrument, fingertaps the fret—on other songs, she taps dance shoes, plays the kora or a thumb piano while playing the guitar.” The outlet further noted the “joy and possibility she brings to the guitar … This music goes back to Black blues guitarists; she’s reclaiming, but she’s also staking her claim at the same time.”
“Acadia has several meanings,” says Williams. “A place of rural peace and pastoral poetry (Italian), a refuge or idyllic place, (Greek and Italian), fertile land (Mi'kmaq), a place of plenty (French) ... all of this relates to the ethos of this album. The songs are seeds I planted, and the seeds grew into the album, Acadia: a place of peace, a place where creativity can blossom, a place where everyone can fit in together and collaborate effectively, a place where the fruits of my own labor in music can fully flourish without judgment or prejudice. One of my visions for this record was to expand the potential for current folk music to encourage collaboration across various genres. Blurring those somewhat arbitrary lines has been a natural tendency for me since I started writing music at twelve years old and Acadia is a full circle moment.”
Composer and guitarist Yasmin Williams has announced a US winter headline tour in support of her critically acclaimed new album, Acadia, out now via Nonesuch Records. The dates begin with four shows in California in December, before picking back up on the East Coast in February with shows in Baltimore, New York City, Northampton, Philadelphia, and more. Williams also plays Pitchfork Music Festival in London in November and Brandi Carlile's Girls Just Wanna Weekend in Mexico in January. See below for details and tickets; for all the latest, visit nonesuch.com/on-tour. As Uproxx praised, “Shredding has never sounded so beautiful, melodic, or even peaceful; it’s one of the reasons that Williams is one of the best performers I’ve ever had the fortune to witness live.”
Acadia, which The Bluegrass Situation calls “a masterwork,” is Williams’ most sonically expansive work to date, comprising nine original, mostly instrumental, tracks written and produced by Williams, and featuring her on various guitars, banjo, calabash drum, tap shoes, and kora. Williams is joined on the album by collaborators including Immanuel Wilkins on saxophone, Dom Flemons on rhythm bones, Aoife O’Donovan on vocals, William Tyler on guitar, and many others—creating a folk music that reflects the wide range of musical influences that have inspired her throughout her life.
A native of northern Virginia, Yasmin Williams has garnered praise from the likes of Pitchfork, including her in its list of 25 New and Rising Artists Shaping the Future of Music in 2023, and NPR Music, naming her a Breakthrough Artist of 2021, saying: “Yasmin Williams treats her guitar like a playground. She taps the wood of the instrument, fingertaps the fret—on other songs, she taps dance shoes, plays the kora or a thumb piano while playing the guitar.” The outlet further noted the “joy and possibility she brings to the guitar … This music goes back to Black blues guitarists; she’s reclaiming, but she’s also staking her claim at the same time.”
“Acadia has several meanings,” says Williams. “A place of rural peace and pastoral poetry (Italian), a refuge or idyllic place, (Greek and Italian), fertile land (Mi'kmaq), a place of plenty (French) ... all of this relates to the ethos of this album. The songs are seeds I planted, and the seeds grew into the album, Acadia: a place of peace, a place where creativity can blossom, a place where everyone can fit in together and collaborate effectively, a place where the fruits of my own labor in music can fully flourish without judgment or prejudice. One of my visions for this record was to expand the potential for current folk music to encourage collaboration across various genres. Blurring those somewhat arbitrary lines has been a natural tendency for me since I started writing music at twelve years old and Acadia is a full circle moment.”
X
By submitting my information, I agree to receive personalized updates and
marketing messages about Nonesuch based on my information, interests,
activities, website visits and device data and in accordance with the
Privacy Policy. I understand that I can opt-out at any time by emailing
privacypolicy@wmg.com.
Thank you!
x
Welcome to Nonesuch's mailing list!
Customize your notifications for tour dates near your hometown, birthday wishes, or special discounts in our online store!
Composer and guitarist Yasmin Williams has announced a US winter headline tour in support of her critically acclaimed new album, Acadia, out now via Nonesuch Records. The dates begin with four shows in California in December, before picking back up on the East Coast in February with shows in Baltimore, New York City, Northampton, Philadelphia, and more. Williams also plays Pitchfork Music Festival in London in November and Brandi Carlile's Girls Just Wanna Weekend in Mexico in January. See below for details and tickets; for all the latest, visit nonesuch.com/on-tour. As Uproxx praised, “Shredding has never sounded so beautiful, melodic, or even peaceful; it’s one of the reasons that Williams is one of the best performers I’ve ever had the fortune to witness live.”
Acadia, which The Bluegrass Situation calls “a masterwork,” is Williams’ most sonically expansive work to date, comprising nine original, mostly instrumental, tracks written and produced by Williams, and featuring her on various guitars, banjo, calabash drum, tap shoes, and kora. Williams is joined on the album by collaborators including Immanuel Wilkins on saxophone, Dom Flemons on rhythm bones, Aoife O’Donovan on vocals, William Tyler on guitar, and many others—creating a folk music that reflects the wide range of musical influences that have inspired her throughout her life.
A native of northern Virginia, Yasmin Williams has garnered praise from the likes of Pitchfork, including her in its list of 25 New and Rising Artists Shaping the Future of Music in 2023, and NPR Music, naming her a Breakthrough Artist of 2021, saying: “Yasmin Williams treats her guitar like a playground. She taps the wood of the instrument, fingertaps the fret—on other songs, she taps dance shoes, plays the kora or a thumb piano while playing the guitar.” The outlet further noted the “joy and possibility she brings to the guitar … This music goes back to Black blues guitarists; she’s reclaiming, but she’s also staking her claim at the same time.”
“Acadia has several meanings,” says Williams. “A place of rural peace and pastoral poetry (Italian), a refuge or idyllic place, (Greek and Italian), fertile land (Mi'kmaq), a place of plenty (French) ... all of this relates to the ethos of this album. The songs are seeds I planted, and the seeds grew into the album, Acadia: a place of peace, a place where creativity can blossom, a place where everyone can fit in together and collaborate effectively, a place where the fruits of my own labor in music can fully flourish without judgment or prejudice. One of my visions for this record was to expand the potential for current folk music to encourage collaboration across various genres. Blurring those somewhat arbitrary lines has been a natural tendency for me since I started writing music at twelve years old and Acadia is a full circle moment.”
Yasmin Williams stopped by Acoustic Guitar to perform songs from her new album, Acadia, and more and to discuss the album. You can watch the session here. "Yasmin Williams is known for extending the boundaries of solo fingerstyle guitar, with progressive techniques and original compositions that blossom out of traditional folk and roots touchstones," writes Acoustic Guitar's Joey Lusterman. "On her latest record, Acadia, she expands her distinctive sound world even further." Williams kicks off a US tour later this month.
Congratulations to composer and pianist Timo Andres on receiving the Chamber Music Society of Lincoln Center's Elise L. Stoeger Prize—a $25,000 cash prize, awarded biennially by CMS to recognize significant contributions to the field of chamber music composition. Andres says: “I feel equally challenged and freed to take risks when I write chamber music, and writing it, I’ve learned the most about becoming a better composer and musician. To be recognized in this medium by one of its greatest institutional standard-bearers is a huge and unexpected honor.”
